Ballet Luminary Matthew Ball on Grueling Roles and Social Media Attention: 'I'm Not Protective About My Body'

In the quiet ambiance of a lounge near London's Royal Ballet, Matthew Ball requests a mint tea. His posture is naturally straight-backed, his limbs muscular beneath a simple tee. On stage, dancers can seem like mighty gods, yet frequently in person they are petite. Not so Ball, whose height is part of his popularity for heroic characters and partnering. With delicate features and intense eyes, there's a touch of Robert Pattinson about him.

A Seamless Ascent to the Pinnacle

Now 31, Ball is experiencing the peak of a career that has advanced seamlessly. Raised in Liverpool, he faced minimal ridicule for his childhood passion in ballet. Joining the esteemed training institution at 11, he graduated straight into the company and was promoted each year, reaching the highest position of principal in 2018. He has relished tackling substantial dramatic roles, especially the psychological angst found in Kenneth MacMillan's ballets.

"Your breath is short, your legs get heavy, but it’s really a mental fatigue."

Ball's next featured role is as himself, in an "In Conversation" series designed to offer intimate insights into a performer's art. He will walk the crowd through a role, demonstrating his mental workflow during performance. Even in lighter works, the challenge is profound. "A classic ballet is one of the most demanding technically," he states.

The Psychological Game and Post-Performance Feelings

What about after a performance, when he has succeeded? "It's pretty good," he says. "However because I'm trying to extract all the juice out of it, and get lost in the character, quite often I do feel embarrassed afterwards. After Mayerling I'm always thinking: Wow, what must people think?"

Offstage, Ball is reflective, polite, and quick to laugh at himself. Yet a choreographer previously remarked on a "sense of suffering in him." Does this exist? "I'm quite energetic usually, but I do have a dark side," he reveals. "I somewhat enjoy pessimism sometimes. I've always felt that doubt has been an instigator for good change."

Formative Motivations and Artistic Influences

Ball's tenacity originated in youthful experiences. Not excelling in contests at school made him "vengeful!" This became fuel to demonstrate he could succeed. Discovering the book *Mao's Last Dancer* was a "pivotal" moment. "It changed everything, it made me go a bit fanatical," he recalls.

The next challenge is creating his own dance works. In his view, "organic movement has value." "Challenging the rules is interesting, but just pretending that they’re not a thing any more – I don’t know how far you can go with that." He wants his work to be filled with substance, drawing inspiration from literature, compositions, and art.

Close-Up Performance and Personal Dynamic

He additionally is interested in staging dance in more intimate venues. "It was just really exciting," he says of a past show. "You’re so close to the viewers. I felt as if they were realizing: 'That’s a person, and they’re sweating.'"

Ball has made pieces with his partner, fellow principal Mayara Magri. The degree of faith between them is clear. "We tried it out on the beach first," he says of a audacious lift. "It resembled Dirty Dancing." They are not usually matched on stage at their home company, which is perhaps healthy. "We’re both quite strong-willed people, so it’s not always hunky dory," he notes. "Yet I feel like we’re each other’s biggest cheerleader."

Regarding Instagram and Bodily Perception

On social media, followers can see videos from his dance films and images that showcase a sculpted form. Does he care that the response can be somewhat objectifying? Not really. "The body is just what we use, so I don’t feel very protective about it," he explains. He relates it to seeing Michelangelo’s David—an object that can be interpreted on various levels.

Ball characterizes his younger self as "desperate for success." Did it met his expectations? "I feel very aware of how life is a separate reality to the aspirations you made as a child," he reflects. He likely has another ten years of performing left. "I suppose in the time to come, I want to be a bit more gentle with myself."